Moisio was a well known artist [photography] in his day. Below is a biographical sketch, courtesy of iphotocentral.com, E-Photo Newsletter Issue 134 10/5/2007:
In the midst of the Great Depression, Mosio put himself through Columbia University (1928-1933), where he earned a BA in Fine Arts. After graduating in 1933, Moisio joined the Emergency Relief Bureau, Home Relief Division. Later in 1935 he moved to 373 Bleecker Street and taught photography for the WPA Federal Arts Project. In 1940 he coordinated an exhibition of his students' work at the New York Metropolitan Museum of Art. Beginning in 1942 Moisio also began to freelance, photographing for the New Yorker, Esquire, Time, Look, Harpers' Bazaar, Vogue and the New York Times. While contemporaries such as Berenice Abbott, who also worked for the WPA, and Walker Evans may have influenced his work, he had his own take on this tumultuous era, capturing a wholly original point of view of New York and its street life. One image, "St. Mark's in the Bowery Church Graveyard", has more than a striking semblance to Evans' famed "Saratoga Springs" photograph.
Many of his images show viewpoints from high vantage points and extreme angles, much like Russian constructivist photography of the same period. Moisio's creative take on New York City was no doubt influenced by his art background and also from living with his wife Shari Frisch de Misky, a promising abstract painter with Russian roots, who was also a book designer and illustrator. It probably didn't hurt that they were living in the midst of the important Greenwich Village art scene of the 1940s and '50s.
Patricia Garcia Gomez, writing for the online magazine ZooZoom, described Moisio this way: "Moisio's ability to depict the essence of time and place within his honest and documentary style of photography is captivating. In this way he explored the social issues of the time. However, whilst you see casual traces of racial integration, sexuality and economic status, you do not feel he is politicizing his photographs. What you feel in looking at his New York is an optimism of spirit and gesture that feels both timelessly enduring and long ago lost in the City we experience today."
In the midst of the Great Depression, Mosio put himself through Columbia University (1928-1933), where he earned a BA in Fine Arts. After graduating in 1933, Moisio joined the Emergency Relief Bureau, Home Relief Division. Later in 1935 he moved to 373 Bleecker Street and taught photography for the WPA Federal Arts Project. In 1940 he coordinated an exhibition of his students' work at the New York Metropolitan Museum of Art. Beginning in 1942 Moisio also began to freelance, photographing for the New Yorker, Esquire, Time, Look, Harpers' Bazaar, Vogue and the New York Times. While contemporaries such as Berenice Abbott, who also worked for the WPA, and Walker Evans may have influenced his work, he had his own take on this tumultuous era, capturing a wholly original point of view of New York and its street life. One image, "St. Mark's in the Bowery Church Graveyard", has more than a striking semblance to Evans' famed "Saratoga Springs" photograph.
Many of his images show viewpoints from high vantage points and extreme angles, much like Russian constructivist photography of the same period. Moisio's creative take on New York City was no doubt influenced by his art background and also from living with his wife Shari Frisch de Misky, a promising abstract painter with Russian roots, who was also a book designer and illustrator. It probably didn't hurt that they were living in the midst of the important Greenwich Village art scene of the 1940s and '50s.
Patricia Garcia Gomez, writing for the online magazine ZooZoom, described Moisio this way: "Moisio's ability to depict the essence of time and place within his honest and documentary style of photography is captivating. In this way he explored the social issues of the time. However, whilst you see casual traces of racial integration, sexuality and economic status, you do not feel he is politicizing his photographs. What you feel in looking at his New York is an optimism of spirit and gesture that feels both timelessly enduring and long ago lost in the City we experience today."
Moisio was a well known artist [photography] in his day. Below is a biographical sketch, courtesy of iphotocentral.com, E-Photo Newsletter Issue 134 10/5/2007:
In the midst of the Great Depression, Mosio put himself through Columbia University (1928-1933), where he earned a BA in Fine Arts. After graduating in 1933, Moisio joined the Emergency Relief Bureau, Home Relief Division. Later in 1935 he moved to 373 Bleecker Street and taught photography for the WPA Federal Arts Project. In 1940 he coordinated an exhibition of his students' work at the New York Metropolitan Museum of Art. Beginning in 1942 Moisio also began to freelance, photographing for the New Yorker, Esquire, Time, Look, Harpers' Bazaar, Vogue and the New York Times. While contemporaries such as Berenice Abbott, who also worked for the WPA, and Walker Evans may have influenced his work, he had his own take on this tumultuous era, capturing a wholly original point of view of New York and its street life. One image, "St. Mark's in the Bowery Church Graveyard", has more than a striking semblance to Evans' famed "Saratoga Springs" photograph.
Many of his images show viewpoints from high vantage points and extreme angles, much like Russian constructivist photography of the same period. Moisio's creative take on New York City was no doubt influenced by his art background and also from living with his wife Shari Frisch de Misky, a promising abstract painter with Russian roots, who was also a book designer and illustrator. It probably didn't hurt that they were living in the midst of the important Greenwich Village art scene of the 1940s and '50s.
Patricia Garcia Gomez, writing for the online magazine ZooZoom, described Moisio this way: "Moisio's ability to depict the essence of time and place within his honest and documentary style of photography is captivating. In this way he explored the social issues of the time. However, whilst you see casual traces of racial integration, sexuality and economic status, you do not feel he is politicizing his photographs. What you feel in looking at his New York is an optimism of spirit and gesture that feels both timelessly enduring and long ago lost in the City we experience today."
In the midst of the Great Depression, Mosio put himself through Columbia University (1928-1933), where he earned a BA in Fine Arts. After graduating in 1933, Moisio joined the Emergency Relief Bureau, Home Relief Division. Later in 1935 he moved to 373 Bleecker Street and taught photography for the WPA Federal Arts Project. In 1940 he coordinated an exhibition of his students' work at the New York Metropolitan Museum of Art. Beginning in 1942 Moisio also began to freelance, photographing for the New Yorker, Esquire, Time, Look, Harpers' Bazaar, Vogue and the New York Times. While contemporaries such as Berenice Abbott, who also worked for the WPA, and Walker Evans may have influenced his work, he had his own take on this tumultuous era, capturing a wholly original point of view of New York and its street life. One image, "St. Mark's in the Bowery Church Graveyard", has more than a striking semblance to Evans' famed "Saratoga Springs" photograph.
Many of his images show viewpoints from high vantage points and extreme angles, much like Russian constructivist photography of the same period. Moisio's creative take on New York City was no doubt influenced by his art background and also from living with his wife Shari Frisch de Misky, a promising abstract painter with Russian roots, who was also a book designer and illustrator. It probably didn't hurt that they were living in the midst of the important Greenwich Village art scene of the 1940s and '50s.
Patricia Garcia Gomez, writing for the online magazine ZooZoom, described Moisio this way: "Moisio's ability to depict the essence of time and place within his honest and documentary style of photography is captivating. In this way he explored the social issues of the time. However, whilst you see casual traces of racial integration, sexuality and economic status, you do not feel he is politicizing his photographs. What you feel in looking at his New York is an optimism of spirit and gesture that feels both timelessly enduring and long ago lost in the City we experience today."
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